Friday, November 23, 2012

Let us now delve into one of the more tempestuous tales in the
history of Gothic Rock.

We need to travel back to 1986 when The Sisters of Mercy were
riding high on the success of their debut full length release First and Last
and Always. Plans for the second album, reportedly to be called “Left on
Mission and Revenge”, were underway, but all was not well. Recent gigs had been
fraught with tension and guitarist and lead song-writer Gary Marx left the band
mid-tour citing “personal differences”,
and left The Sisters to complete tour dates of Europe and the US as a
three-piece (Thompson, D. The dark reign
of gothic rock: In the reptile house with The Sisters of Mercy, Bauhaus and The
Cure, Helter Skelter (2002)). He’s
by no means vanished from history however, and soon turns up in Ghost Dance
with Anne-Marie Hurst, former vocalist with fellow Leeds Goth act Skeletal
Family, who had regularly served as The Sisters’ support act.

However, we digress.

Rehearsals of the new songs were going no better. As
Eldritch would relate the tale later;

“They said, ‘Well
okay, what are we going to do for new songs?’ and I said ‘How about this, this,
and this’ and unfortunately the first ‘this’ I cited had too many chords per
minute and Craig said “If that’s the guitar line, I’m not playing it’ and
walked out.”

Wayne Hussey followed suit, exiling himself from The Sisters
just one day later. As he would later explain events in contrast to the
Eldritch version:

“We got to doing the
second album and Andrew said ‘I’m not singing any of your songs’. That’s what
it boils down to. Craig walked out of rehearsals and a day later I did. He was
listening to things like Fleetwood Mac, Stevie Nicks, Foreigner and there was
us listening to Motorhead or whatever. And it showed.”

(Mercer, M. The
Gothic Rock Black Book, Omnibus, 1988).

Curiously, Hussey and Eldritch would re-join for just one
gig in Hamburg before formally announcing that The Sisters of Mercy had
dissolved (Thompson, D., 2002). One would imagine that the backstage vibe at
this gig must have been both weird and awkward, but this is where the real fun starts.

And so it begins: Wayne Hussey and Craig Adams regroup. They’re joined by Mick Brown, previously
drummer with fellow Leeds Goth band Red Lorry Yellow Lorry and Simon Hinkler,
formerly with Artery. Then they announce that they will call themselves The
Sisterhood. By strange err...coincidence, this also happens to be the name of The Sisters of Mercy
fanclub.

*CUT TO CHATEAU ELDRITCH*

Sitting on his skull throne, Lord Andrew taps his fingertips
in a slow rhthym.

“No…. No.”, he
thinks.

“This simply will not
do. This simply will not do. At. All.”

*END SCENE*

So, what to do? The easiest approach is to launch legal
action, easy because Eldritch already owns rights to “The Sisterhood” name. A much more proactive approach however is to
quickly record and release something using “The Sisterhood” name himself, thereby
completely asserting rights to the brand.
Eldritch evidently fancies a quickie, and as Liisa Ladouceur observes,
in many ways, The Sisterhood is best regarded as a “legal pissing contest disguised as a band” (Encyclopedia Gothica,
ECWpress, 2011). Certainly, the “band” never performed live.

This path does pose certain difficulties however, chief
among them being that Andrew Eldritch’s contract with Warner prohibits him from
personally appearing on the album (drum machine, the indomitable Doktor
Avalanche is fortunately not bound by any such odd conventions of meatspace and
will be used to great effect) . To get around this, Eldritch ropes in the then
largely unknown vocal talents of James Ray, later to become much better known
with James Ray and the Performance and James Ray’s Gangwar, who sounds so much
like Eldritch, that initially many suspect he may be a fictional entity.
Regarding the politics surrounding The Sisterhood, Ray would later observe;

“I really didn’t give
two monkey shits what was going on, it was just I went down and sang a song and
that was it. I didn’t think anything of all that. Eldritch asked do you want to
release a single with me and he asked me to start explaining why he was doing
it and I just didn’t care, it was just a chance to make a record y’know?”

In an interesting aside, James Ray would later go on to
release several albums through Eldritch’s label Merciful Release and would
eventually note on the subject of Eldritch;

Again, we digress, but isn’t it interesting to observe how
often these very similar descriptions of Andrew Eldritch emerge from those who
have had the intriguing experience of working with him?

Next, we require a bass player. In what would later prove an
inspired choice, Eldritch enlists Patricia Morisson, formerly with LA
punk/death rock group The Bags, then with The Gun Club, and at the time touring
as Siouxsie’s support act, Fur Bible. She too will later assert that Andrew
Eldritch cheated her out of money, but that’s a story for another time.
Original Motorhead drummer Lucas Fox is roped in to co-produce and we are ready
to begin.

The result is the “Giving Ground” single (Merciful Release,
1986). Obviously, it’s designed to serve the very pragmatic purpose of rapidly
and efficiently fucking over the opposition rather than any pretensions to high
art. Accordingly, the cover art is extraordinarily minimalist to say the least.

Equally minimalist is
the track listing – why bother with a “real” B-side when you can just bung on a
longer version of the A-side? And so, we are presented with the A-side “Giving Ground (RSV)” and the B-side “Giving Ground (AV)”, the latter clocking in with a bonus
52 seconds. For the curious, AV and RSV are Biblical references denoting “Authorised Version” and “Revised Standard Version” respectively.
So now you know!

His rivals’ guns neatly spiked, they are forced to concede defeat and change their name to The Mission. Eldritch ponders where to go
next. He and his new-found playmates begin work on a little something titled “This Corrosion”, but Eldritch wisely
decides to keep it under his hat for later, so perhaps a Sisterhood EP is in
order?

And so, with no further ado, ladies, gentlemen and unwitting
small children lured here by accident or evil design, we bring you the Gift EP.

This one has attracted quite a diabolical reputation over
the years, but is it as bad as often supposed?

Actually, the answer is probably not. Part of the problem almost
certainly lies in that the Goth scene had never heard anything quite like this
before. Although it’s certainly true
that it doesn’t stand up to close scrutiny, most of the tracks aren’t bad at
all, in fact it’s rather more of a fascinating listen to hear in it the
germination of ideas that a year later will reach maturity on The Sisters epic
and awesome album Floodland (Merciful Release, 1987). Indeed, some CD versions
of Floodland will include “Colours”
as a bonus track.

The opening track “Jihad”
is actually quite strong, it’s opening line of “2-5-0-0-0” commonly rumoured to be a mocking reference to the
amount Eldritch was able to sue Hussey & Co for infringement of
intellectual property.

Meanwhile, “Finland
Red, Egypt White” continues the, if nothing else, “economical” nature of
the project by inventively quoting the specifics of an AK-47 (AKA: a
Kalishnikov assault rifle) direct from a weapons and ammunitions catalogue in
place of anything resembling real lyrics. “Rain
from Heaven” is perhaps less remarkable although remains interesting for
featuring the vocals of Suicide’s Alan Vega.

If there is a genuinely weak point here, then it’s
ironically the single “Giving Ground”
(here a different version from either found on the 7”). James Ray once
described this as “It’s a terrible track”
and he’s absolutely correct. On listening to the keyboard line, I can’t help
but think it’s what this little guy might sound like on a whole mountain sized
heap of Xanax. Never fear however – the song is not without redemption as
Christian Dorge’s project Syria would later demonstrate to excellent effect on
their album Ozymandias of Egypt (Black October Records, 1993). It doesn’t
appear to be on Youtube, but I strongly suggest that you hunt a copy down since
it does genuinely demonstrate with convincing power that it is indeed possible
to polish a turd.

Jihad

Colours

Giving Ground

Tracklisting

Finland Red, Egypt White

Rain From Heaven

And so, gentle readers, there you have the whole sorry tale.
We will leave it to the conspiracy theorists among you to muse upon the
ever-persistent story that the entire stoush was in fact a totally confected
row designed to maximise publicity for both parties.

A Welcome and Introduction

Plunder the Tombs was started back in 2010 by way of looking back on a musical past that I felt in sore need of curation.

It was a strange and sad time when what passed for “Goth” in clubs seemed a pale imitator of what once was, following first a decade of cookie-cutter Sisters of the Nephilim clone bands and then another decade of industrial dance being palmed off to younger audiences as a type of faux goth. When on rare occasion DJs in “Goth” clubs did finally become brave enough to play something like Bauhaus it was not untypical to have the dance floor clear, and it became obvious that the memory, meaning and legacy of much that had gone before had been lost.

It’s probably safe to say that the boundaries of what was “Goth” were never clearly defined. An absolute blessing for those bands on the original scene before it had a name pinned to the donkey, but an outright curse for those who came later and found rules had been imposed to dictate that which was and that which was not acceptable. Worse still was to come in the 90s from a lazy and unquestioning media who simply assumed that anything that wore black and make up was by definition “Goth”, thus allowing all manner of pretenders licence, and maximising confusion as to what the term actually referred to.

This has gone on for way too long and its time is at an end. Neo Post-Punk bands now proliferate across Europe, old long dead Goth bands rise from their crypts in the UK, and new deathrock bands are breeding like rabbits up the west coast of America. It is time to reclaim our scene back from metal bands and ravers in disguise.

While the Plunder the Tombs of old focused on what had gone before, there are now far too many exciting new things to ignore. We roar back to life in a reboot, covering past , present and things yet to come.

Let us plunder the tombs….

About Me

A DJ throughout the 90s at numerous Goth night clubs in Perth including The Cell, Dominion and others he was probably far too drunk to remember, largely as a result of his preference to work for bar tabs over cash. Also helped found 6RTR fm's Goth & Industrial showcase Darkwings.
More recent projects include the currently dormant Descent - a small night dedicated to playing genuinely good Goth music both old and new in preference to packing the dance floor with songs everyone had heard 20 million times before. He currently runs a monthly show on Behind the Mirror on 6RTR fm which can be heard on Wednesdays at 11pm WST.
Rumour has it he once masterminded an ill-advised Goth fanzine "Small Pleasures" that in retrospect, he remains profoundly grateful never made it off his desk.